michaelwebster

I would want to go back to the UK too if I was from there. I am jealous of how much more empasis/resources/funding is placed on art in Europe, the UK especially.

Hi creamypencil, I have heard of international applicants sometimes getting funding through their own governments. I don't know what countries these were for, but you should try to research if there are any scholarships available for you from your home country. You may also be eligible for some scholarships that aren't given by a school, but by some other organization within the US. I don't really know where to look for either of these, but I know they exist.

Based on your work, I don't know if ou really need to go to grad school, unless you want to for one of the reasons listed above. Just make a ton of work and apply to every show/opportunity you can. That is what artists really do. They spend half their time making stuff, and half filling out applications. Only once you get more well known does the application process slow down a little. But I wouldn't just take a drunk, ranting "important artist" as your guidance. You will know if grad school is for you, and it may not happen for a few years.

I still haven't heard from Columbia, maybe I should call and check on my application, 2 years later? Actually schools are insane. While in graduate school, I have recieved emails from 2 schools about applications. One was a school I did apply to, the year before, and was accepted. The other was a school that I had never contacted or applied to, that sent me an email about an interview. Someone else must be using my email address for MFA applications.

Now that I have the loans, my plan is to find a job, and I have my first interview tomorrow.

The kidney, wasn't enough, so I have started listing personal ads as a "masseuse."

Ask for an extension, they are part of the Council of Graduate Schools and should abide by the April 15th deadline. "Students are under no obligation to respond to offers of financial support prior to April 15; earlier deadlines for acceptance of such offers violate the intent of this Resolution. In those instances in which a student accepts an offer before April 15, and subsequently desires to withdraw that acceptance, the student may submit in writing a resignation of the appointment at any time through April 15. However, an acceptance given or left in force after April 15 commits the student not to accept another offer without first obtaining a written release from the institution to which a commitment has been made." http://www.google.co...y5S7mTg&cad=rja

I know, that is what we all see usually, because 95% or more of the MFA applicants have a BFA. And most of those applicants that don't have a BFA shouldn't be applying to MFA programs. But of those who don't have BFA's, yet have great work, are actually in a very good position having cred outside the art field.

I am serious that most schools, especially the "top ranked" ones, prefer someone with experience outside of the artworld (ex. no BFA). Its just that its difficult to compete with those that spent 4 years with professors developing as an artist. I would agree with The Zane that a BA in art may hurt a little, but its really your artwork and your ability to write and interview well that matters 98%. If your work is influenced by your past experiences in philosophy, science, history, psychology, etc. then you are really a golden candidate, because your knowledge of two fields (art and ___) can make for exciting artwork. A few schools may be wary of people wihout BFAs, but mostly its an advantage. Take, for example, Gordon Matta Clark. If he was an applicant to an MFA program, his past experiences in Architecture validate his work in a way that having a BFA wouldn't. He would probably get in either way, but it makes since and gives his work a narrative arc, his move away from traditional architecture to begin cutting it. If your not taking advantage of your past experiences in that way in your own work, maybe it should be a consideration. Thats why I love Clarita's photos. She is using the spaces and experiences from a crap (or maybe awesome?) job to make compelling work.

They take you seriously. Its just that students straight out of undergrad usually haven't developed as much as those that have had to make artwork and hold jobs outside of the academic environment. But a couple of younger ones get in every year.

College professors work a lot more than it may look on paper. I don't know any who work as little as you mentioned. It is by no means an easy job to do well, and they get paid little for how much schooling is required. But I know nothing about bar tending, so I can't compare.

I would say that many MFA programs prefer students without a BFA. Of course, your work still has to be on par with the applicants that do have a BFA, but everything else equal, they would take the non-BFA student because of the other fields and experiences that those individuals could bring to the program. I know my program has about 4 out of 20 students who never studied art in school prior to their acceptance here.

He changed his name to R Mutt, and I saw him this weekend, probly still recovering from our apartment show/party.

you could also go to grad school to improve your artwork.

Yes its a certificate, not a degree. What I meant is just that you get a piece of paper and a line on your resume at the end of the year. But I agree, its expensive.

Mostly faculty, maybe a grad student too on occasion.

Are you talking about SAIC? If so, they do have waitlists. And I believe the post-bac is a one year degree, not a non-degree.

I left the painting tree awhile ago, so I will leave (or leaf) the details of debates grounded in these types of paintings to those who are more knowledgeable.

I think using "abstract expressionism" to categorize these pieces is way off too. Sure that history might come up in relation to work like Cecily Brown, but abstract expressionism is a historically loaded term. You can't really paint an abstract expressionist canvas any more right now than you can paint an impressionist or mannerist canvas now. The context is too different, and the way it is painted, while having some stylistic similarities, is also very different. The heroicism is all gone and been replaced by a sense of futility, especially when taking into account the substrate and documentation style. and I am sure that painters can give a more attuned analysis than that.

From what I have seen this is mostly true. Your exhibition record and portfolio is more important, but it also seems highly unlikely for someone to go to Boonie U. and teach at a highly ranked school later. The "who you know" can make a big difference if your willing to take advantage of it. Also, the MFAH Core Program or Whitney ISP is only really possible if you go to a top ranked school too. More importantly is the actual difference in education. While I do not know for sure how I would have developed at another school, I really feel that my education has been much more nuanced than I would have had at another place. I think this in itself has been worth it. Of course in 9 months I will start my $300-something a month payments, but I knew what I was getting myself into. Its really just about your drive and goals, and what you want from education.

It depends. The school might look expensive at first, but over your career the difference can easily be made up if you play our cards right. I know people can win fellowships at any school, but the 10 people graduating from my program last year made about 50k between them in exiting awards/fellowships (like the Joan Mitchell Award) and that was before graduation. The networking possibilites here are also insane, leading to many good exhibitions and residencies straight out of school. All of this is possible anywhere, but its just a lot easier at a well-known school. That doesn't mean that its right for everyone. I nearly tore my hair out deciding between SAIC and UNC, because I am not really that into gallery exhibitions and brown-nosing, but its still been worth it for me for a variety of reasons. Also, about the "torn down and built back up", I have seen it the other way around. It's the little, less renown schools that want to remodel their students completely, based on the handful of schools I know well. Not that my school doesn't have issues, but the money question is not the most important one if you are career-driven. Teaching opportunties is a big one, as Mick said, if you plan to teach.

I think its just that the office workers have too much on their plate scheduling with those they interview/accept to send out all the rejection letters immediately. They will let you know if your waitlisted.

UNC is all one, interdisciplinary program, and when I applied (2 years ago) I was notified around Feb 1st.

I have no idea about Film/Video/NM. You could still be in the running for that dept, but I don't know. I know performance doesn't interview but they send out notifications early, around Feb 1.

If you haven't heard from SAIC yet, then yes, I think you're out of luck, unfortunately. For those that are coming up, especially in sculpture, art&tech, fibers, or anyone else, the sculpture dept. is thowing an apartment show that night that includes people from many departments. Its called Domain and Range, pm me and I will send you the address. The open bar in Sullivan galleries is just the warm up for the exhibition.